Thesis--Utrecht. / Vita. Summary in English. Includes indexes. Includes bibliographical references (p. 70-71).

Thesis--Munich, 1968. / Vita. Includes bibliographical references (p. 2-3).

Lo Ka Yu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 334-341). / Abstracts in English and Chinese. / Lo Ka Yu. / 論文擇要 --- p.i / Abstract --- p.ii / Acknowledgments --- p.iii / Table of Content --- p.iv / List of Figures --- p.vi / List of Tables --- p.xv / Introduction --- p.1 / Chapter 1.1 --- Questions raised --- p.1 / Chapter 1.2 --- Literature in Chinese wood carving and symbolic language --- p.11 / Chapter 1.3 --- Methodology and field work --- p.26 / Chapter 1.4 --- Content of the thesis --- p.29 / Jixiang 吉祥 carvings --- p.30 / Chapter 2.1 --- An exhibition of wishes --- p.30 / Chapter 2.2 --- Chinese: People of symbols --- p.32 / Chapter 2.3 --- Chinese Sense of Auspiciousness --- p.37 / Chapter 2.4 --- Chinese House: symbols and jixiang 吉祥 --- p.41 / Chapter 2.5 --- Jixiang 吉祥 motifs in wood carvings --- p.44 / Chapter 2.6 --- "Motifs, symbols and symbolic language" --- p.47 / Domestic Decorations --- p.55 / Chapter 3.1 --- Tai Fu Tai 大夫第，San Tin 新田 --- p.57 / Chapter 3.2 --- "No. 123 village house, San Tin 新田" --- p.104 / Chapter 3.3 --- Ching Shu Hin 清暑軒，Ping Shan 屏山 --- p.107 / Chapter 3.4 --- "No. 93 village house, Shui Tsan Tin Tsuen 水盞田村" --- p.141 / Chapter 3.5 --- "No. 32&33 village houses, Ha Tin Liu Ha 下田寮下" --- p.143 / Ceremonial Buildings --- p.147 / Chapter 4.1 --- Man Ancestral Hall 文氏宗祠，San Tin 新田 --- p.149 / Chapter 4.2 --- Man Lun Fung ancestral hall 麟峰文公祠，San Tin 新田 --- p.155 / Chapter 4.3 --- Kun Ting Study Hall 覲廷書室，Ping Shan 屏山 --- p.171 / Chapter 4.4 --- Wai Hing Study Hall 渭卿書室，Ping Shan 屏山 --- p.198 / Chapter 4.5 --- Yan Dun Kong Study Hall 仁敦岡書室，Ping Shan 屏山 --- p.201 / Chapter 4.6 --- Sin Sui Study Hall 善述書室，Lung Yeuk Tau 龍躍頭 --- p.217 / Religious Buildings --- p.246 / Chapter 5.1 --- Tung Shan Temple 東山古廟，San Tin 新田 --- p.248 / Chapter 5.2 --- Kwan Tai Temple 關帝古廟，Tai O 大澳 --- p.251 / Chapter 5.3 --- "Yeung Hau Temple 楊侯古廟, Tai O 大澳" --- p.262 / Symbolic Language of Wood Carvings --- p.277 / Chapter 6.1 --- Symbols - pictorial vocabularies --- p.277 / Chapter 6.2 --- Symbolic meanings --- p.284 / Chapter 6.3 --- Reading the Symbolic language --- p.287 / Chapter 6.4 --- Dynamics of Symbolic Language --- p.312 / Conclusion --- p.316 / Appendix I --- p.319 / Appendix II --- p.320 / Appendix III --- p.321 / Appendix IV --- p.323 / Appendix V --- p.326 / Appendix VI --- p.327 / Bibliography --- p.334 / Manuscripts before 1911 --- p.334 / Works after 1911 --- p.336 / Other References --- p.341

Dissertation submitted in partial fulfilment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban University of Technology, 2013. / This paper documents and evaluates the use of ceramics as an aesthetic architectural element in Durban from 1914-2012 with special reference to James Hall (1916-2006), Andrew Walford (b.1942) and Jane du Rand (b.1969). These artists were selected because their work demonstrates a wide range of the use of decorative tiles and mosaics as aesthetic elements in Durban architecture over a period of more than fifty years. Reference is made to the historical use of tiles and mosaics as aesthetic architectural elements in Durban from 1914-1955 in order to provide a context to an investigation and evaluation of the contribution of Hall, Walford and du Rand to the use of tiles and mosaics as an aesthetic architectural element in Durban. The paper begins by highlighting the importance of this study, discusses the role of ceramic architectural adornment and defines terminology for the purpose of this research. In addition an explanation of the research methodology used, research questions and literature review is provided. The study is contextualised through an overview of the historical background of the use of ceramics (tiles and mosaics) as an aesthetic element in architecture. The importance of the use of ceramic elements in relation to architecture, as well as the different techniques and methods of production, are highlighted and related to contemporary practice. The overview provides insight into how the use of ceramic elements in the past has influenced the approach of contemporary practice. My contribution to the use of mosaics as an aesthetic architectural element in Durban and my art practice, in the form of an installation titled passage is discussed and evaluated. The paper concludes by noting that the historical use of tiles and mosaics as aesthetic elements in architecture persists in contemporary art practice. However, the methods of tiled mosaic production and tiled mosaic techniques have been revolutionised extensively. It is evident that, the use of ceramics as an aesthetic element in Durban architecture reflects, both a strong European design influence and a distinctive local identity. / Durban University of Technology Postgraduate Development and Support Directorate

The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

Nepalese architectural craft production still relies on traditional hand tools and an ancient process, despite the intense labor and time requirements to produce traditional craft. This thesis examines the underlying issues inherent in the making of traditional crafts, and proposes an integration of modern digital fabrication tools and production processes that support a fast, economical process from design to production and integrating contemporary digital practices in the creation of ornamentation and carvings. / Department of Architecture

Marezzo scagliola is a type of artificial marble made by pulling pigmented skeins of raw silk through a wet mixture of pigmented plaster. This material was a popular architectural material used in prominent public building throughout the United States at the turn of the nineteenth century. Most of the marezzo scagliola found in American buildings today is near or more than 100 years old. While it is by nature a very durable material, the negative effects of temperature, moisture and building evolution have all but destroyed some examples of marezzo scagliola. Unfortunately, the original craft techniques used to fabricate marezzo scagliola were never well documented. Recipes and techniques were usually passed down from father to son or were closely coveted by artisans seeking to hold a monopoly in the market. In the last 20 years, a very small number of conservators working to restore all types of scagliola have begun to document the history of scagliola as well as the techniques used in repair and replication. This thesis will expand upon the small amount of information available by documenting in detail the process used to both fabricate and repair marezzo scagliola. / Department of Architecture

Many barns in the United States were painted at one time, most of them a solid color, usually red or white. A small proportion of barns were further embellished with decorative painting or commercial advertisements.This creative project studies such decoratively painted barns. It examines the reasons barns were painted, the materials and methods used in painting, and color preferences. It describes the four major types of decorative barn painting, and it traces the history of advertisements painted on barns, with special focus on the advertising campaign for Mail Pouch Tobacco.The project also includes a survey of the decoratively painted barns within a seven county region in southeastern Indiana and a preservation strategy for those barns. The region, which encompasses Dearborn, Franklin, Jefferson, Jennings, Ohio, Ripley, and Switzerland counties, was chosen because it has a relatively high concentration of Mail Pouch Tobacco advertisements and because it remains very agricultural in nature. The barns in the survey area remain in their rural historic context.A list of Mail Pouch Tobacco signs in the survey area was available as a result of prior research by others. The survey was conducted by driving the roads on which Mail Pouch signs had been recorded previously, looking also for other barn advertisements and decorative painting along the route. For each example noted, information was recorded on a survey form about the location, condition, and function of the barn as well as the type of painting, and photographs were taken in both black and white and color.As part of the preservation strategy, three driving tours were devised, and a full-color brochure describing the driving tours was designed. Application was made for a grant to fund production of the brochure for distribution to county visitor's bureaus and historic preservation agencies in the seven surveyed counties. If the grant is received, One thousand five hundred copies of the brochure will be printed. / Department of Architecture

The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

Univ., Diss. u.d.T.: Hahn, Stephanie: Ad decorum civitatis - Bauten und Bauaufgaben der Residenzstadt Fulda im 18. Jahrhundert--Zugl.: Marburg, 2004.